The group at Jazz Standard this week is officially listed as the Jon Faddis Quartet, but the opening announcement on the early show on Wednesday night described it as the Jon Faddis Sextet, and to make matters even more confusing, there were clearly seven musicians onstage, including a second trumpeter playing alongside Mr. Faddis.

It eventually became clear that this was his regular working quartet, with David Hazeltine on piano, Kiyoshi Kitagawa on bass, and Dion Parsons on drums, plus two guest percussionists from Senegal — Abdou Mboup and Alloun Faye — which is the same lineup that appears on Mr. Faddis’s new album, “Teranga” (Koch).

The younger trumpeter was Max Darche, an “A+ student,” as Mr. Faddis explained, of his from Purchase, whom Mr. Faddis regarded so highly that he wanted to have him up on stage for at least half the show.

None of this should be terribly surprising; jazz fans have long been accustomed to guessing what Mr. Faddis is going to do next. He exploded on the jazz scene 30 years ago, displaying more technique and pure chops than virtually any trumpeter in jazz history. He was initially known as a protégé of Dizzy Gillespie’s, but he quickly proved that he could play anything with anyone. Obviously, this talent served him well in the studios, where he has spent most of his career, and then as director of the Carnegie Hall Jazz Band, which he conducted for its entire 10-year existence.

But while Mr. Faddis is known primarily as an outstanding composer and bandleader, he has focused his career largely on realizing the ideas of others rather than developing a musical identity of his own. This is not necessarily a bad thing, because it means anything is possible and his music is always unpredictable.

The current ensemble performing at Jazz Standard through Sunday night and featuring the two Senegalese percussionists is primarily devoted to extending the Afro-Latin explorations of Mr. Faddis’s mentor, Gillespie. On Wednesday night, he began with “The Brothers,” a fiery slice of Afro-Bop that could have been a variation on “Night in Tunisia,” and continued with “The Hunters and Gatherers,” a more meditative African journey in the vein of Gillespie’s “Tin Tin Deo” and “Kush.”These two pieces also co-starred Mr. Darche, and brought to mind the classic album “Night of the Cookers,” in which two high-powered trumpeters, Freddie Hubbard and Lee Morgan, sawed away at each other.

With just the quartet, Mr. Faddis played “Hey, Lalo,” a staccato blues inspired by one-time Gillespie pianist Lalo Schifrin, as well as an exemplary example of ballad playing, Benny Carter’s 1976 “The Courtship.” While both of these are on “Teranga,” Mr. Faddis’s duet with Mr. Hazeltine, alas, was not: This was “Body and Soul,” in which both piano and trumpet neatly deconstructed and reconstructed the tune like a pair of Art Tatums.

The climax of the set (and of the album) was “Teranga,” played by the entire septet. Mr. Faddis, whose stage persona is as silly as his trumpet-playing is serious, announced that this was a concept from Senegal that refers to brotherhood and fellowship. Yet although the percussionists gave it an African feeling, the pentatonic melody sounded as much Middle Eastern, and when the two trumpeters tore into each other, it was far from brotherly.

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Meanwhile, uptown and to the west at Dizzy’s Club Coca-Cola, an unusual experiment in jazz repertory is taking place until Sunday, using the music of Eddie Durham as a point of departure. Durham (1906–87) is a well-known name to students of jazz history and listeners of WKCR’s Phil Schaap.Yet he is all but completely unheard of by contemporary club-goers, largely because he recorded virtually nothing under his own name despite being an extremely influential composer, arranger, and instrumentalist.

A major architect of the Count Basie sound, Durham worked with the Count in the Bennie Moten Orchestra and in Basie’s first band, collaborating on many of the jazz standards associated with those groups — most famously “Moten Swing,” “Topsy,” and “Good Morning Blues.” He wrote classic arrangements for many bands, including Jimmie Lunceford, Artie Shaw, and Glenn Miller, and was also a first-rate jazz trombonist and a pioneering electric guitarist.

Durham’s music lies right at the crossroads of swing and the blues, and the group at the DCCC is stressing the latter, being co-led by two blues specialists: guitarist Hiram Bullock, an extrovert showman known for his work in fusion and funk circles, and funk trombonist Fred Wesley, famous for his association with James Brown.

The rhythm section is Frank Gravis on bass, Jeremy Gaddie on drums, and Jerry Z on Hammond B–3 organ.The use of electric organ is perfectly sensible in that on both of Durham’s most famous sessions as leader (with the Kansas City Five and Six) he avoided the traditional acoustic piano.

The Eddie Durham Jazz Festival, as the group is billed, is most successful when it stays on topic, as in the late show on Wednesday night, when it began with Durham’s blues “Sliding Along” (the same melody as Sweets Edison’s “Centerpiece” and Tiny Kahn’s “Tiny’s Blues”), before launching into the big band standard “Moten Swing.” The group detoured through some pop standards (“Georgia on My Mind,” “Love for Sale”) and jazz ones (“Night in Tunisia,” “Killer Joe,” and Stanley Turrentine’s “Sugar”) before coming back to Durham’s “Good Morning, Blues,” in which Mr. Bullock tested the range of his cordless pick-up by strolling through the club in mid-solo.

The Durham festival band is a work in progress. While it isn’t necessary for the quintet to become a strict jazz repertory ensemble that faithfully re-creates Durham’s charts, it would be nice to see it incorporate more of the group sound of the Kansas City Five and Six occasionally. All five musicians are raucous, irrepressible crowd-pleasers, and this is some of the funkiest and most entertaining music I’ve heard recently in a jazz club — it would belong just as much in B. B. King’s.

wfriedwald@nysun.com